Did the Greeks, and in particular did the Homeric poets, associate Death with the Horse? The great importance, in the archaeology of art and religion, of all associations connected with the grave, will perhaps give interest to a somewhat full discussion of this question, or rather of the single piece of evidence, upon which, so far as concerns Homer, the question seems to turn. Did the poets describe Hades, lord of Death, as ‘lord of the goodly steeds’? Is this what they meant by κλυτόπωλος? It is the purpose of this paper to show that they did not, that this interpretation is involved in difficulties and impossibilities three-fold and four-fold, has for it neither reason nor authority, and must, with all that depends upon it, be given up.

The first and perhaps sufficient objection is this. Before the epithet κλυτόπωλος could be referred to the horse, πῶλος it is plain, must have signified a horse. Now it is quite certain, though apparently not recognized, that to the composers of the Iliad and Odyssey no such word as πῶλος horse was known. They used, it is true, the word to which, by a stretch of meaning and for convenience, that sense was given by their imitators and successors; but they knew it only and strictly in what seems to have been its primitive and etymological sense, a foal, a young horse under the mother.

§ 1. It is less easy to forgive Xenophon for telling us so little about the foundation of Megalopolis than for telling us nothing at all about the foundation of Messene. We would give much to know the details of the building of the city on the slopes of Ithome and the synoecism of Messenia; but Megalopolis, in its double character of a federate city and a federal capital, presented such complicated problems that the silence of those who could have best told us how those problems were solved is more aggravating than many of such silences to the curiosity of posterity. In this paper I propose to deal with one problem which seems never to have been quite realised.

This Hymn, whether from the simplicity of its narrative or from accident, presents fewer textual difficulties than any of the four larger compositions. Serious corruptions there are none, and the notes it is necessary to write are occasioned rather by the misplaced activity of critics than by real obscurities in the tradition.

Literature since 1886 is confined to the contributions of A.' Ludwich, Rheinisches Museum 1888, p. 566, and R. Peppmüller, Philologus 1889 p. 13 sqq. Accounts of the Goddess (which however do not bear materially on the Hymn) are given by Roscher in the first volume of his Lexicon, Tümpel in the new Pauly-Wissowa, vol. 1, and by Mr. Farnell, Cults of Greek States, vol. 2.

For the future any discussion of the problems connected with the Battle of Plataiai must take into account Mr. Grundy's careful survey of the field. In the map that accompanies his monograph we have at last reached finality. The satisfaction of this supreme requirement is his best contribution to the subject. His application of strategical principles to the narrative of Herodotos is only partial; and his result is not clear, because he has tried to realize the apocryphal portions of the ancient account. It is only after stripping off the husk of romantic accretion that we can proceed to examine the details by the light of military principles. It is such preliminary work and such subsequent recasting of the narrative that is here attempted.

The Hall of the Mystae is a Roman building on the western slope of the ancient town of Melos. The principal object and result of the excavation begun by Mr. D. Mackenzie and myself in April and extended by Mr. Cecil Smith in May 1896, was to put on record its fine mosaic pavement. We were fortunate in being able to call to our aid a skilful and indefatigable draughtsman. Mr. Charles Clark, architect to the School, joined us in Melos as soon as he could be spared from the Athens excavations, and worked upon the mosaic for several weeks in the full heat and glare of a Mediterranean summer. Of the illustrations, fruits of his patient labour, which this paper serves to introduce, Plate I. represents the two figured panels on the scale of 1:25, and is a very faithful rendering of their general effect; while Plate II. gives part of the finest panel on the scale of 1:5, and shows the method of execution in detail; it is reproduced from one of a series of rubbings' coloured cube by cube upon the spot, which are practically full-size facsimiles of all the principal figures. The spirited figure of the cock (Plate III.), supplied by another rubbing, gives a good idea of the life-like force of the design. For the restoration attempted in the key-plan (Fig. 4) we are jointly responsible.

After exploring the north side of the Lycos valley, and before proceeding down the right bank of the Maeander towards Ortakche (see Part I. init.), we spent a short time in the Phrygo-Lydian borderland, seeking for some evidence to clear up the uncertainties attaching to the situation of Sala, Tralla, Aetos, Kallatebos, and Apollonos-Hieron. (See Plate IV.)

In discussing this district, I enjoy the advantage of having before me the work of three previous explorers, Prof. Ramsay, Prof. Radet, and the late Dr. Karl Buresch. I have been careful to quote the opinions of these critics, though I must sometimes differ from them, because it is convenient for the reader to have before him all the views that are, or have been, held in regard to each town. Amid a few differences, I find myself in general agreement with Prof. Ramsay and Dr. Buresch. In the development of their views from the earliest to the latest stage there is, happily, a steady approximation towards the same results; and yet, by a strange accident, this approximation was quite unconscious, for Dr. Buresch knew only Prof. Ramsay's earliest views, while Prof. Ramsay in his latest work had only a very imperfect knowledge of Dr. Buresch's earliest opinions. I regret that I am obliged to differ more widely from the results reached by M. Radet, and, as some readers might put a wrong construction on such expressions of dissent, I would here record my appreciation of the value of his fresh and suggestive work. When a subject is in process of growth, every suggestion and every fresh point of view are valuable, and it is only by due consideration and open criticism of all proposed combinations that we can cherish the hope of ultimately reaching, or approximating to, the truth.

The Imperial Ottoman Museum has recently acquired a very valuable and interesting gold ring (Fig. 1) which was found in 1894 or 1895 in a tomb at Lampsacus. The Museum authorities subsequently undertook further excavations in the necropolis of which this tomb formed part, and it is a matter for great regret that no detailed report of the results was drawn up; we are therefore forced to content ourselves with the somewhat meagre information given by the late Baltazzi-Bey to M. Salomon Reinach, according to which the necropolis yielded fragments of red-figured pottery and specimens of silver autonomous coins of Lampsacus. Both these details are of importance in fixing the date of the ring; for on the one hand silver coins of this class belong almost exclusively to the fourth century, and on the other, the manufacture of painted vases was not continued after that date. When we add that the evidence of coins and inscriptions proves that this was the most flourishing period in the history of Lampsacus, we have strong a priori reason for assigning the ring to this century, while a consideration of the style of the intaglio may help us to fix the date within narrower limits.

I should like to call attention to an attitude in some of the Attic stelai which has attraced little, if any, notice, while its meaning, so far as I know, has met with no consideration.

The best example of the attitude is to be found in the beautiful Plate XXIV. of Mr. Percy Gardner's ‘Sculptured Tombs of Hellas’ (Conze, Pl. LXXVIII). Mr. Gardner describes the sitting figure as ‘a lady stretching out both hands towards a matron who stands before her,’ certainly an inadequate description of a peculiar attitude. Conze, in his great work ‘Die Attischen Grabreliefs,’ says that the standing figure with the left hand takes hold of the right arm of the sitter on the under side (unterfasst). But this seems to me to miss the point. It is not the right arm but the right wrist of the sitter that is laid hold of. The forefingers of the standing figure are extended along the forearm and the thumb is raised at the wrist, so that the sitter's right hand lies softly in a sort of couch. From an artistic point of view the attitude is a remarkable one, being unlike that of any of the other best known stelai.

The vase which is the subject of the present paper was acquired a few years ago in Italy for the Ashmolean Museum. The find spot was given as Capua.

The vase is a bell-krater, in height 20⅝ in. (m ·523) in diameter 19⅝ in. (m ·498). There is a wreath above, and a line of maeander pattern beneath the figures. The sides of the vase have a decoration of unusual richness. An elaborate pattern of palmettes rises to the handles, the roots of which are surrounded by the so-called egg-moulding (Eierstab). The reverse type is one of the conventional groups usual in this class of vases. Three youths, their long hair bound with wreaths (white), and wrapped in himatia, are standing together in a building which is indicated by a column rising in the midst. In the back-ground are hung up two square frames (dedications?); two tall curved leaves like notes of interrogation rise from the ground.

The head reproduced upon Pl. XI. has recently been acquired by Philip Nelson, Esq., M.B., and we are indebted to him both for his courteous permission to publish the head and for the photographs, taken by himself, from which our illustration is derived. The head is of Parian marble, and is clearly of Greek workmanship; it is also evidently derived from an original of the very highest artistic merit. It is in excellent preservation, except that the end of the nose and a part of the lips on the right side have been restored.

Dr. Nelson has kindly supplied me with the following information as to the history of the head and as to its dimensions and present condition. It was acquired by him in Bath at the sale of the collection of the late Captain Maignac, who inherited it from his father-in-law, an artist named Walton, a contemporary of the painter Barker of Bath, 1769–1847. This Walton in all probability brought the head from Italy, where he is known to have travelled and collected pictures, &c.; but there seems to be no more exact record as to its origin. The head seems to have remained practically unknown to archaeologists until its acquisition by Dr. Nelson, who, appreciating its importance, sent photographs to the British Museum in July, 1897.

In my first article on Pylos and Sphacteria I made the rash promise that in an early number of this Journal I would support my theories by documentary evidence. It is with shame that I realise that this is now two years ago. Various circumstances have delayed me. I have been unable to visit Greece again myself, and the friends who were kind enough to do the work for me were constantly baulked by the storminess of the place. Not only was it often impossible to set up a camera ὁπότε πνεῦμα ἐκ πόντου εἴη but even to reach Sphacteria at all. Of the Pylian boatmen, as I know from my own experience, it cannot be said that ἀφειδὴς ὁ κατάπλους καθέστηκε It is only as a patchwork of the results of three different expeditions that I am now in a position to publish a plan of the παλαιὸν ἔρυμα and a fairly complete collection of photographs. In the present article my business will be to act as showman to this series; I have little new to add, and, happily, no fresh opponent to meet. My collaborators have, I think, on practically every point on which they have expressed an opinion, given their support to my views.

The era of the city begins in the autumn of 47 B.C. Hence this coin, which is struck in high relief, dates from the second year of the reign of Trajan (autumn 98–99 A.D.). The head is not a likeness. The inscription on the reverse identifies the goddess represented with the Ἐκκλησία of the Aigeaians, a personification which has not hitherto, as far as I know, occurred on coins.

2. 26. Bust of the Caesar, laureate, to right, wearing cuirass and draped.

Rev. 1. in the field. Tyche seated to left, wearing a turreted crown and veil. In her right, a small temple represented in profile, with a statue under the arch of the façade and an eagle on the pediment. At the feet of the goddess a goat lying to left, its head reverted.

Considering the attention now paid to the geography ot Asia Minor, it has struck me that a collection of the notices relating to the Arabic invasions of that district, which are scattered here and there in the Arabic annalists and must be sought through thousands of pages of Arabic print, would serve a very useful purpose. These extracts not only throw light on geography and the Arabic nomenclature of the localities, but, when compared with the accounts of the same events in Greek and Syriac writers, are of great value for the study of chronology.

The writers from whom extracts are given under years are the following:—

This paper is an attempt to interpret certain stones, which have come to light recently on ancient sites in Karia, as parts of ancient oil-presses, on the ground that they are well adapted to fulfil certain purposes which are still essential to the modern native process of oil extraction in that part of Asia Minor and in the adjacent islands. The inference is that the ancient process closely resembled the modern in the principal features which are recounted below.

The Modern Method of extracting olive oil consists of the two processes of grinding and pressing.

In the most primitive mode of grinding which is still in use, the olives are crushed either on a flat stone by a roller, or in a stone trough by a millstone rolling on its edge. In more modern grinders two mill-stones are used, which revolve in a circular trough, as in the grinding of kaolin or cement. The process of grinding seems never to have varied, except as regards the power which is employed; horses having been substituted for men, and steam for horses. In Algeria and Tripoli the circular trough goes back at least to Roman times.